Frankenstein 90

I think for the user comment posted , than the poster doesn't understand , that this is a comedy , an homage like Mel's Brooks "Young Frankenstein" , an it's a good French comedy , i saw it a long time ago , at 84' , and i remembered the enjoyable moment i have . And Jean Rochefort was superb , like always , not to mention the gorgeous female creature . I have to say that i am a big Frankenstein's fan , i watched for the first time the classic Whale - Karloff movie at the age of four , since then i looked all the versions filmed , even the Edison' film , of course all the Universals , the Hammers , the mexicans movies , the B versions , the most bizarre movies with the

"Frankenstein" title ever made , or with the man made monster or human in her plot , like "The Rocky Horror Picture Show" , an this "Frankenstein 90" film , has a good and respectable place , between all this films.

Horror comedies rarely work, in my opinion. Either the humor is unsuccessful or the horror is. Or both. In this case, there is a good combination, although ultimately there is more humor than horror.

The setting is modern day (1984) France and (what we find out) is a descendent of the Frankenstein family is continuing to work on the same old experiments. However this time around he is more successful and the "creation" is rather civilized (wearing jeans and a sweatshirt for much of the film) for the most part although he does have some anger management problems.

The humor is not heavy handed and in my opinion that helps it work better.

A good example of a funny bit early on is when the doctor, stealing an arm from a laboratory, accidentally drops it while climbing over the fence only to have it picked up by a dog. This results in a brief struggle for the arm. Not hilarious, but funny. There is a lot of that in the film.

This is a more down to earth version of Frankenstein. It is without the drama and grandiose aspects many of them have. It addresses, in some manner, the real problems that might come up if one had assembled a human/creature from dead body parts.

Some of the humor is a bit dark, naturally, and there are some genuinely atmospheric moments in the form of a dream sequences.

I'm sort of surprised this film doesn't have a greater cult following, although maybe it does and I'm just not aware of it. Maybe it will now since Anchor Bay has just released a nice looking DVD of the film.

For fans of the bizarre and humorous, I suggest checking this one out.

It is worth comparing this film, in a way, to the other comedy film based around the Frankenstein story - Young Frankenstein. I enjoy that film very much but this one has a different feel to it. It has some darker moments, thematically, and some darker comedy. Simply put, this one is French and the other is a Mel Brooks film made in his prime.

This is another film I was barely aware of before I acquired it (unfortunately, it cuts off before the end credits have finished rolling!) on the strength of the theme and credentials – director Jessua having already dabbled in the genre with TRAITEMENT DE CHOC (1973), LES CHIENS (1979) and PARADIS POUR TOUS (1982). I also did not expect it to be a spoof of the famous tale (since its makers were typically associated with sober stuff), but the result proved nonetheless thought-provoking and quite satisfactory. Incidentally, it was to be among the last works of scriptwriter Paul Gegauff (best-known for his long-time collaboration with the late great Claude Chabrol) prior to being murdered – by his own wife! – on Christmas Eve '83.

Anyway, while not as broadly comic as Mel Brooks' popular YOUNG FRANKENSTEIN (1974), there are still some definite laugh-out-loud moments here – the funniest being the aftermath of a car accident (with the monster himself behind the wheel!). Besides, this is the only Frankenstein movie where you will see the creature – played here by singer Eddy Mitchell – donning jeans and shades…and he even goes to watch one of his own cinematic adventures (in which he is incarnated by one Maurice Tarloff)! In the same quirky vein, we get the monster repeatedly embarrassing its master – Jean Rochefort – by killing a cop-turned-procurer/blackmailer (merely by a slap in the face) and, for his mate, he takes the initiative to kidnap (and hang in deep-freeze) a trio of exotic dancers the doctor had indicated as prospective 'donors'; for the monster, he had previously worn a mask in order to steal the requisite body parts – from his own workplace – and had even been forced to knock-out his fiancée Elizabeth, now a scientist herself! For the record, the latter is played by Fiona Gelin, daughter of actor Daniel and half-sister of the recently-deceased Maria Schneider!

Incidentally, as per the Mary Shelley source novel, we get two creatures for the price of one: a prototype (i.e. ugly-looking) male – who learns to talk instantly but then, in something of a clichéd situation, has to be told what love is! – and a gorgeous statuesque female (Dutch Herma Vos, another singer curiously enough) but who, this time around, bears no visible marks of her patched-up nature! As in BRIDE OF FRANKENSTEIN (1935), too, the latter takes an instant liking to her creator rather than her intended (there is also a nod to the 1931 original's inadvertent child murder in the similarly playful maid's death here). With Elizabeth getting a more central role than usual, and though she had been shaken by the monster's attempted rape of her, the couples eventually swap partners (echoing the afore-mentioned YOUNG FRANKENSTEIN)! The creatures actually engage in a fight atop the Frankenstein castle (though the events largely take place in Paris, we revert to Geneva for the finale) which ends pretty much in a draw.

Other notable assets are the interesting cavernous sets for the main lab (with the reconstructed bodies covered by a golden tin foil) and a surprisingly buoyant score by Armando Trovajoli. During the latter stages, however, the film seems to bite off more than it can chew – after a veritable siege at the Frankenstein house, the monster and Elizabeth escape across the ice (it seems that, after being neglected for so many years, every new interpretation has to incorporate this sprawling chilly landscape!)…only for him to re-emerge an entrepreneur (surrounded by all the modern commodities and with the ability to speak in several languages!), with scientist now reduced to a mere employee, and the mass-produced creatures (amusingly made-up to look like the David Bowie alter ego Ziggy Stardust!) already resenting their lot and sowing the seeds of rebellion!

Alain Jessua's French production, 'Frankenstein 90' (1984), is a solid, entertaining, original and odd take on the Frankenstein tale, particularly the Universal film classics 'Frankenstein' and 'Bride of Frankenstein'. Part comedy-spoof, part light drama, this is essential viewing for horror fans and Frankenstein completists.

Imagine Mel Brooks' 'Young Frankenstein' but in color and with a whopping dollop of nudity and graphic, rampaging sexual appetites. In fact, the quest to satisfy the monster's carnal curiosity is the focal point of the film. More than likely, American horror fanatics have never seen anything quite like this. French pop star Eddy Mitchell stars as 'Frank' (the monster), and the film boasts two extremely sexy female leads that do not disappoint. Fiona Gelin (as Elizabeth) is simply stunning. >

This is a film that I learned about when searching out the different adaptations of the source material by Mary Shelley. I remember watching this one in my apartment when I lived in Parma, Ohio. It was one that elements stuck with me, but all I remembered was that this was odd. I've now given it a second watch as part of my Foray through the Fours.

Synopsis: an obsessed scientist assembles a living being from parts of exhumed corpses.

This film begins with a man walking along a fence for a research laboratory. He comes to a corner and climbs over. He is wearing a mask, but he is Victor Lafaurie (Jean Rochefort). After getting inside, he comes to a lab where there are different body parts in water and machines hooked up to them. A woman enters and screams at the sight of the intruder. We will come back to her, but she is Elisabeth (Fiona Gélin). He has an arm out of a tank and uses it to knock her out. He flees with it. I'll say here that this is a comedy, because the arm falls out of the container while escaping over the fence and a dog picks it up. He must wrestle it away.

The next day we then see that Victor is dating Elisabeth. He shows up at her lab is shocked at what happened. There is an inspector leading the investigation played by Ged Marlon. This then shifts to a lecture that Victor is teaching. The inspector is in attendance. We learn that Victor is an expert in this new technique that allows parts from incompatible bodies to be used with a low failure rate. A comment from the inspector ends the lecture early. This is the opposite effect though. The inspector knows that Victor is behind the thefts of body parts and makes an offer. The inspector can get him a head. They meet to do business while it is raining that night.

Victor comes home to find Elisabeth. She made dinner and it turned out to be their two-year anniversary, which he completely forgot about. She wants to get intimate, but he is concerned with the head that he brought home. He tells her that he is tired and she is irate. She thinks that he is seeing someone else.

Once she leaves, he then goes down to his lab. He created a computer chip that talks to him. It has been pleading for a body, which he's been working on. He inserts it into the brain, erased memories and then tries to bring the creature to life. It should also be pointed out that his lab is hidden in the wine cellar, behind a fake wall of bottles. He succeeds in bringing his creation to life.

The monster is named Franck (Eddy Mitchell) and Victor has his hands full trying to teach him how to be 'normal'. He eats with his hands, doesn't know his own strength, attacks people who are rude as well as watch his creator with Elisabeth while having intercourse. She catches him and freaks out.

It doesn't help that the inspector is still spying and wants to be involved. Franck continues to kill, not realizing what he's doing is wrong. They hide out in a country cottage. Elisabeth joins them. She is assaulted by the creature, but also understands the importance of this experiment. It is also decided that Franck needs a mate.

That is where I'll leave my recap and introduction to the characters. Where I want to start is giving credit to this version of the story. There are meta elements here where Shelley wrote her novel. There is a drawing of Boris Karloff's take on the monster. Victor and Franck even go to a theater to see a movie version of the story. All the while, Victor's real last name is Frankenstein. He goes to the police to tell what his creation is doing and they laugh him off thinking that he's referring to the fictional character. It gives the vibe that Shelley wrote a non-fiction book or that there are elements she borrowed from real people that I appreciate.

Now that I've said that the title makes more sense this time around. This was made in 1984. I'm not sure if it is supposed to be in the future but using 90 at the end of the title is at least setting up that the technology used here is newer. Victor can streamline teaching Franck things because of putting it on the computer chip that is in his brain. There's a funny scene where he is correcting Victor's table manners because of his programing. This is something that sets it apart.

Let me then go over to the fact that this is a comedy first. Victor is bumbling at times. Horror elements come from Franck killing people because he doesn't realize his strength. He doesn't realize that at times, what he wants or needs to happen hurts people. This element is also comedic. A companion is made for him from the parts of strippers and they name her Adélaïde (Herma Vos). This element leads to good heart and an ending I wasn't fully expecting. There is an issue I have here though with Franck assaulting Elisabeth and then her developing feelings. That was problematic.

That should be enough for the story so over to the acting. Rochefort is good as our mad doctor. He has good intentions. His obsession with his research is to fulfill his family's legacy. I thought that fit what the story needed. Mitchell brings good size to the role. He adds comedy as well. Gélin is attractive, but also smart. She becomes important when she learns the truth of what Victor is doing. Vos is also gorgeous. Both are seen nude in different states if you're interested. Other than that, Marlon is good as the inspector who gets involved too much. The rest of the cast rounded this out for what was needed.

All that is left then is filmmaking. The best thing this does is leave science to our imagination. We get enough where we understand what they're doing and using. Not enough to critique it either. I also think the cinematography and framing were solid. The effects were limited. They try to convince us that Franck is hideous, but I don't know if they do enough there. This feels like an insult to Mitchell's looks in general. Other than that, I thought the soundtrack was fine without standing out or hurting this.

In conclusion, this is more of a comedy than a horror film. I won't say that hurts this because there are a blend of both elements here. We have a modern take on the Frankenstein story with a bit of futuristic elements mixed in. The back and forth between Rochefort and Mitchell were good. Gélin also works when she finally takes part in the experiments. This is made well enough. How this was shot, framed and what effects they used were fine. I do think the latter could be ramped up a bit more, but I also won't hold it against the movie either. Not one I can recommend to everyone. This is a foreign comedy with horror elements. Keep that in mind coming in.

My Rating: 5.5 out of 10.